My Anime: The Book of Bantorra

Last night my husband and I finished watching the anime The Book of Bantorra. It was good. Really good. The first anime we've tried in a while that made me want to stay up way longer than I should to keep watching. It also made me question some things about my story preferences that I thought were true.

First, let me give you a quick summary of the show's premise. In Bantorra's universe when people die their bodies slowly turn into books (which look like vaguely book sized slabs of rock) which other people can touch to read and learn the deceased's life story. Bantorra Library is home of the Armed Librarians (how cool is that?) whose job is to collect, organize and protect the books. The Armed Librarians are in conflict with the Church of Drowning in God's Grace (also called the Shindeki Church) who believe that being human means that you have the right to seek happiness at all costs. The top ranks of the Church are the True Men, who use others to gain happiness and thus create the most beautiful books of their lives that they can. Then there are the Mock Men who serve the True Men. Lowest of all are the Meats who the True Men have brainwashed to forget their humanity. Meats are used as cannon fodder and guinea pigs in various experiments the Church carries out.

To say more would be to give away too much. The anime is full of intrigue, of world-changing secrets and interesting plot twists. It's well worth the watch. So what assumptions did it call into question?

1. I thought I hated character death.

Of course I don't mean ALL character death. Sometimes it's appropriate or even necessary to the story. But I have firmly hated and condemned the kind of character death that G.R.R. Martin engages in: where characters seem to die right and left and the only purpose of it seems to be either a glorification of violence or "Ha! You thought you could root for him? You never know whose going to die or when in this book! Don't get too comfortable, reader. Muahahahahaha!" OK, that may be a bit of an exaggeration but I think you know what I mean.

Many characters die in Bantorra and only some of them are bad guys. The first episode introduces a group of Armed Librarians. As typical in anime they are all given a unique look and unique abilities and unique personalities. They are presented as whole characters. Only a few of them will survive to the end. And while it hurt each time one of them died, somehow it fit into the mood and theme and direction of the story perfectly. And perhaps this is the key to why it worked for me: (semi spoiler) the climax involves a two layered fight involving the still surviving characters and all the characters that had died thus far all working together in their respective realms to win the conflict. It was awesome.

Three of these characters die.

 So while many of the deaths seem pointless at the time, ultimately they have meaning.

2. I thought I hated unsympathetic, morally questionable main characters.

In truth, there's not really one main character in The Book of Bantorra. But Hamyuts Meseta, the acting director of Bantorra Library, is certainly one of the most important characters. (She's the one in the image above with the ridiculous cleavage.) She's also a terrible, terrible person.

In the very first episode she uses her power to blow up a ship despite all of the people that are still on it including her own Armed Librarians. The rest of the series establishes that she is ruthless, bloodthirsty and extremely deadly. She is clearly keeping some ominous secrets and no one really knows who she is or what her goals are. And at first I didn't like her. But then...

One of the things I love about anime is how EVERY SINGLE character is far deeper and more complex than they appear in the beginning. But animes tend to take their time about revealing the full picture of their characters. Each new storyline will deepen your knowledge of the characters. It's like each character is a puzzle. In the beginning of the series the frame of the puzzle is intact and slowly new pieces are added with each arc the character goes through until you can finally see the whole picture. It's fantastic. Hamyuts is no exception.

One of the other characters, Minth, has an ability called Sacred Eyes which allows him to look into people's souls. He once used it on Hamyuts. He expected, he says, to see nothing but evil and villainy in her soul, but was surprised. He finds that her main trait is self-loathing, her thoughts are void, and she wishes for love.

By the end of the series I could believe that, even though in the beginning she had seemed a villain. Slowly, gradually, so that you barely notice it consciously, she is deepened. And in the end it is possible to sympathize with her and even root for her to win. It is expertly done.

3. I thought I wanted romances to have a happy ending.

Tragic romances are all well and good when you are young. But being a wife and a mother has made me prefer seeing a good happy ending for lovers. It's gotten to the point where I'm likely to shun a story if I think it's going to be too heartbreaking. And yet...

There are several romantic or semi-romantic couples in The Book of Bantorra. The only couple that has something like a happy ending are never at any point physically together (they live hundreds of years apart). Three couples are separated by death. Two of those three never consummated their relationship. It was always on the brink of something more. All four of these relationships were beautiful, each in different ways. And they were heartbreaking and I loved them.

I would totally ship Noloty and Enlike. 

So what's the moral here? I think it's that there are no rights and wrongs when it comes to story telling. Anything can work. It just depends on how well you implement it. But you can't know how well you might or might not be able to carry out a particular technique or trope until you try it. At that point, you should let the readers decide whether it's good or bad.

Fumbled it Again

I fumbled the A to Z Challenge. Again.

But rather than asking myself why I even bother to jump into things that I obviously can't handle I'm going to stick to telling myself, "It's better to have strived and failed than never to have striven at all."

Still, I think I've learned something important about myself. (Something more than "Oh God, remind me never to try the A to Z again.") Or at least finally managed to get it through my thick skull:

I can't handle hard deadlines or schedules.

Now, let me clarify. I've tried deadlines and schedules. I've tried them in abundance. I've tried participating in the excellent A Round of Words in 80 Days, which is about as lenient a writing challenge as you can get, and I even signed up for NaNoWriMo last year, a much stricter challenge, and gave that a shot. I've tried setting my own goals somewhere in between. I've tried telling myself "just write something, anything, even if it's only one sentence of fiction, everyday." I've tried various daily word count goals. I've tried every type of goal I can think of.

But here's the thing... (and when you read that, I want you to hear it in the voice of Tony Shalhoub as Monk, because I always do.) Here's the thing... I become hopelessly anxious at the thought of deadlines. And it doesn't matter what word you use. Call it a goal, call it a challenge, call it whatever you want. My inner demons aren't fooled. If I'm supposed to accomplish a specific task by a specific time/date then I can't handle it.

Trivia: in my senior year of high school I was supposed to write a 10 page paper for my English class. I couldn't handle the deadline for this paper. It passed by and I hadn't even read the book I was supposed to be analyzing. (I never actually did read the whole thing. It was an awful book, but there was a list of books we were supposed to choose from and I was sick that day so when I came back to school I had to choose from the dregs.) Weeks passed. My teacher finally cornered me and made it clear that my grade would be shot if I didn't turn in that paper. Filled with anxiety, I forced myself to write 10 pages of, what I thought of as, drivel. (Have I mentioned that I hate literary criticism? Which is basically what we were supposed to do.) Well, I must have simulated what my teacher wanted well enough because despite taking off 20 points for being late, I scraped a grade of 77.

What's the point of that story? There's a part of me that knows perfectly well that I can do the tasks that are set for me. I'm a smart, competent person and even a decent writer and part of me knows it. The other part is thoroughly convinced that I'm a failure at everything I do and that I can't write worth crap. The second part of me is usually in charge. And fighting against that part of me, even thinking about going against it, causes terrible anxiety EVEN WHEN I KNOW, LOGICALLY, THAT THAT PART OF ME IS WRONG. I've talked a bit about my anxiety before. Anxiety is painful in a very physical as well as mental way and it's exhausting to struggle with it. And people, like me, with real anxiety problems (I take medication, but it only helps so much) have no control over how our minds and bodies react to it.

I can't handle deadlines. They give me panic attacks. They paralyze my mind and body.

So what can I do?

I think the key to why deadlines give me such anxiety is that they are in the future. During all the time between NOW and THEN my mind has ample opportunity to play on my insecurities. (And it has a rip roaring time, let me tell you.) I usually start out well. But as time passes everything becomes more and more difficult for me to face. Perhaps, then, I should eliminate that time factor. But how?

I'm also the type of person who needs to feel prepared when I sit down to write. Otherwise uncertainty creeps in and that leads to more anxiety. I need to have my research done, my notes to hand, and at least a rough outline of what I want to accomplish with my story in mind. Right now I don't feel prepared. So I'm going to focus on preparation, because the thought of research and outlining doesn't freak me out like the thought of actually writing the story does. And I think if I'm better prepared then the thought of writing the story will freak me out less.

So my goal is to finish all of my research and worldbuilding notes and outlines by the end of the summer. (By that I mean the end of summer vacation.) Right now I've got 5 kids, 2 of which are in school. In September my middle child will be starting kindergarten. That will mean only the two little ones home and they both take good naps during the day. So if I can manage to finish everything I need to feel prepared over the summer, I'm going to try to discipline myself to sit down and write during nap time. I'm not going to set wordcount goals or anything, I'm not event going to set myself the goal of writing everyday. I'm just going to try to set up a correlation in my mind: nap time>write. I won't guilt myself if I miss a day or if I can only get a sentence down before the boys wake up. I will try to empty my mind of all pressures associated with writing. It will simply be nap time>write.

I will just have to wait and see whether this method will be helpful to me. Every writer needs to find their own method, their own positive habits, what works for them. I'm still searching. Perhaps once I have begun to find it I will feel that I can begin to call myself a real writer. Stay tuned.

The A to Z Fantastic: Fantasy Rapid Fire Part 2

Without further ado...

When I read The Lord of the Rings for the first time I felt like Alice must have felt when she followed the White Rabbit into Wonderland: I was falling down into a world so deep that I might never come back from it. It was the depth of Lore in LoTR that gripped me from the beginning. The sense that I might explore Middle-earth forever and never learn all there is to know about it. Soon I discovered that the fantasy genre is full of Lore-rich works and I fell hopelessly in love. Finding a new book or series that has a richness of Lore and background/backstory details to lose myself in is my greatest joy while reading.

Magic. It seems to be the one ingredient that everyone can agree is absolutely essential to fantasy literature. But what is Magic? Arthur C. Clarke famously said that "Any sufficiently advanced technology is indistinguishable from magic." Gene Wolfe wrote that "There is no magic. There is only knowledge, more or less hidden." I've been giving a lot of serious thought to the question of what Magic is lately. I plan on writing a series of posts about it after April. Come back then if you're interested in my conclusions.

One of my favorite tropes of fantasy is Names. In no other genre are Names as important as they are in fantasy. For in fantasy Names can tell you much about a character and their world. Name construction can give you clues into the author's worldbuilding. For instance, in Tolkien's works, the names follow the rules of the various languages he created. One of his names can instantly tell you a character's race and country of origin before you know anything else about them. And the meaning behind the name might give you clues to their character and role in the stories. In Harry Potter and the Prisoner of Azkaban, a smart reader could have realized early on that Professor Remus Lupin was a werewolf just from his name. Names in fantasy are like clues to a mystery, a game I the reader am playing with the author. Meta or not, I find it good fun.

An element that fantasy inherited from mythology and the fairy story is the Otherworld. The Otherworld can be either the land of the dead or just a parallel world of spirits and deities. A character in a fantasy novel may interact with the Otherworld by summoning spirits, communicating with the dead, being tricked into venturing there themselves or even crossing the boundary between the worlds of their own free will on a quest. An Otherworld gives a writer a great opportunity to include really strange stuff in their fantasy without having to explain it: the Otherworld has always been a bizarre place.

The A to Z Fantastic: Fantasy Rapid Fire Part 1

Let's go!

You've all heard of the Hero's Quest, but how about the Hero's Geas? A geas is a concept that comes from Celtic Mythology and it can be either a taboo or an injunction placed on the hero, typically by a woman. For instance, Cuchulainn has a geas on him to never eat dog meat and he is also bound by a geas to eat any food offered to him by a woman. So naturally one day a woman offers him dog meat to eat. Geasa frequently lead to the doom of the hero who is bound by them.

In the real world, we are confronted daily with the knowledge that we are mortal and must die. Perhaps this is why in fantasy Immortality is such a common theme. For better or worse we all at times wish that we could live forever. In fantasy, people can live forever, but frequently they find that it is not as wonderful a thing as they thought it would be. Is this a way of compensating for our inability to live forever, simply to make us feel better about it? Or is there truth there?

Fantasy stories frequently feature great Journeys across vast lands. Think The Lord of the Rings or The Wheel of Time or any major epic fantasy series. Readers go along for the journey, often following along with a relatively clueless character who has never traveled beyond his home town before. In this way the reader experiences the same discovery that the character does as he sees new lands and meets new people and learns new things. Only in fantasy can we make such journeys of discovery in wholly new worlds.

Fantasy has become the refuge of the Kingdom. While Kings and Kingdoms still exist in our modern world, they are simply not the same anymore. And it must be confessed that there is something romantic and awesome about the Kingdom. Part of us longs for the pomp and circumstance that goes along with a kingdom and some of us long for the romance of princes and princesses. But perhaps it is just as well that the good and bad of the monarchy is mostly preserved for us in the pages of a fantasy book.

The A to Z Fantastic: Elfland and Faerie

The first week of this year's A to Z Challenge coincided with spring break, which meant that all 5 of my kids were home all week. This on top of having a brand new baby and a sick two year old. So needless to say I've been having some trouble finding time for blogging and am already way behind. Rather than just picking up where the Challenge is now, I'd like to make up the letters I've missed. So I'll be blogging two letters per day this week until I'm caught up. So today will be E and F.

Today I'm going to kill two birds with one stone by using two words for the same idea. (Hahaha!)

I am currently reading the book The King of Elfland's Daughter by Lord Dunsany. In it, the people of the Vale of Erl desire to have a magic lord to make their lives more interesting. So the old lord of Erl sends his son, Alveric, into Elfland to marry the King of Elfland's Daughter. The story so far seems to me less about the characters and more about the relationship between the "Fields We Know", as Dunsany calls the mundane world where the Vale of Erl is, and the magical realm of Elfland. The story strongly stresses the differences between the two and indeed those differences are the major source of the conflict. The people of the Vale of Erl are drawn to the magic of Elfland and yet have trouble understanding and accepting it.

I don't know how this conflict will play out but I am eager to find out.

One of the pages above talks about Tolkien's brilliant essay On Fairy Stories. In it he talks about the nature of fantasy as rooted in Faerie. Not Fairies, but Faerie, or as Tolkien called it, the Perilous Realm. The place from whence the stories come.

Faërie is a perilous land, and in it are pitfalls for the unwary and dungeons for the overbold. ... The realm of fairy-story is wide and deep and high and filled with many things: all manner of beasts and birds are found there; shoreless seas and stars uncounted; beauty that is an enchantment, and an ever-present peril; both joy and sorrow as sharp as swords. In that realm a man may, perhaps, count himself fortunate to have wandered, but its very richness and strangeness tie the tongue of a traveler who would report them. And while he is there it is dangerous for him to ask too many questions, lest the gates should be shut and the keys be lost. ~ J.R.R. Tolkien, On Fairy Stories

Tolkien goes out of his way not to define Faerie, saying that part of its nature is to be indescribable though not imperceptible. But one thing is for certain: whatever Faerie is, it is other. It is something that is at once wondrous and dangerous, compelling and repulsing, beyond us and yet a part of us. Faerie, or Elfland, is the essence of Fantasy, allowing us to pass beyond the Fields We Know and emerge again different, and hopefully better, people.

The A to Z Fantastic: Exploring Life After Death

One of the great things about fantasy is that it allows us to explore things that are impossible or at least impossible to know in this real world. One of my favorite impossible things to explore is Death and Life after it.

Currently my favorite example of this is the anime series Bleach.

 

Bleach is about Ichigo Kurosaki who has always been able to see dead souls. Then one fateful night he meets Rukia Kuchiki, a Shinigami (lit. death god) whose job is to help those wandering souls enter the after life. Ichigo is drawn into the world of the Soul Society where dead souls go to reside and where the Shinigami protect the balance of life and death. Not all souls go peacefully to Soul Society, he learns. Some become monstrous Hollows and when Hollows linger in the living world to eat human souls it is the Shinigami's duty to end their existence (with super awesome sword powers).

What I like particularly about Bleach's version of the after life is that it doesn't at all seem like an afterlife. Soul Society is a real, fleshed out world where souls live like normal people. While souls do not need to consume food unless they have high spiritual power (and those who do tend to join the Shinigami), water is still necessary for existence. Thus life after death continues to be a struggle for survival.

Over the course of the series you meet members of rich and powerful families residing in Soul Society whose sons and daughters almost always join the 13 Court Guard Squads of the Shinigami. You also meet those that came from the poor and the destitute sections of Soul Society where people scrape by a living, and where those with unusual spiritual power often suffer more than most, being lucky if they can one day join the privileged Shinigami. 

The interaction between the living world and the Soul Society is the crux of the show, Ichigo being a sort of  fulcrum between the two. It's a fascinating world. And it could only be explored through fantasy.

Courageous Authors of Fantasy

This post is both for the A to Z and for the Insecure Writer's Support Group.

Today I want to talk about Courage. But instead of talking about courage within Fantasy stories, I'm going to focus on the courage it takes to write Fantasy stories.

Fantasy has been a much maligned genre since its emergence in the 1800s. (Note: when I talk about Fantasy as a genre I mean modern fantasy beginning with such writers as George MacDonald and William Morris.) Often considered only good for children or as escapist fare for pathetic losers, everyone who doesn't enjoy it seems to look down on fantasy, even the people who publish it. In addition, "experts" were declaring traditional and epic fantasy dead not long ago. Tell someone you were working on a fantasy novel and you were likely to pitied more than praised.

In the face of all this, the last hundred years has been full of courageous writers defying the odds and proving the naysayers wrong with spectacular works of fantasy literature that expand reader horizons and add much beauty to the world. I'd like to take a moment to recognize some of the authors who I think have been particularly bright stars in the universe of fantasy fiction and salute their courage as artists and creators.

Robert E. Howard is remembered as the father of Sword and Sorcery due to his creation of the iconic Conan the Cimmerian character. Conan was the consummate adventurer and a perfect example of the courageous fantasy spirit.

Lord Dunsany (or Edward John Moreton Drax Plunkett, 18th Baron of Dunsany) was, I believe, the first great world builder. His stories were filled with exotic and wondrous locales with memorable names and fantastic atmosphere. He was also probably the first modern mythopoet, crafting a world of gods and their mythologies unlike anything before him.

It goes without saying that J. R. R. Tolkien and C. S. Lewis belong on this list. For without their brilliant creations of Middle-earth and Narnia fantasy might never have gained the widespread popularity it achieved in the middle of the last century. Their works resonated with readers like none other before them gaining lasting status as classic that will surely be remembered for centuries to come.

One of the finest fantasy series I've ever read is the Amber Chronicles by Roger Zelazny. It's the perfect example of fantasy that transcends subgenres, brilliantly utilizing tropes from ever kind of fantasy fiction without ever being subject to them, it never feels cliche.

Lastly, I want to mention an author who is not a favorite of mine (though he is a favorite of my husband) but whose work and artistry I have profound respect for. Gene Wolfe is an author of all kinds of speculative fiction, not one of his stories being like any other. The depth, subtlety and originality of his work is sadly underrated by readers while being widely praised by authors of all kinds. Or, as my husband has said, "All Gene Wolfe and no Gene Wolfe makes Gene Wolfe, Gene Wolfe." (Don't ask me what that means.)

These shining stars of fantasy (and science fiction) paved the way for writers like me (and you!) with their courageous refusal to write anything but the best and their determination to see their work make its way to readers. They made it possible for the genre to grow and thrive, gathering new writers and new readers constantly, by digging deep and producing amazing works of art that no one else could. Looking to their example, we can do the same. We can persevere against all odds in the name of getting our own unique stories to readers and perhaps one day be remembered as they are. Artists and creators who add beauty and wonder to the world.